Naida Osline is a Los Angeles - based artist who combines and manipulates images sourced from both analog and digital processes, in which she blends conceptual and documentary
photographic practices with an abiding interest in the transformative, mythical, and ethereal nature of existence.
Not exact matches
The first book to examine the
practice of Sara Rahbar, including her early installations for the Queens Museum of Art, a
photographic series made in Tehran, and the politically inspired textile - based works, all which use historically charged materials and forms.Essay by Catherine Grenier, adjunct director of Centre Pompidou, and interview
with Elaine W. Ng.
How to Flatten a Mountain is an exciting 12 days residency opportunity presented by PhotoIreland Foundation & Cow House Studios, and
with the support of OPW, open to emerging and mid-career visual artists whose artistic
practice in whole or part, makes use of digital and / or analogue
photographic processes.
In my artistic
practice, the relationship
with the
photographic apparatus is complicated and ambiguous.
Florian Maier - Aichen, Der Spaziergang (Green, White, and Blue), 2011 C - print 15 x 12 inches April 29 — June 25, 2011
With the works in this exhibition, Maier - Aichen continues his
practice of picking apart and expanding notions of
photographic representation.
Recognized for her
photographic works including «A Prime» (1997 --RRB-, «Color of the Planet» (2004), «In the Desert» (2007 --RRB- that convey a unique sense of distance to the subject and appears to freshly recapture the given world replete
with convention, Noguchi's gaze that is expressed through her
practice is critically described as «the stranger's eyes» at work.
The exhibition moves on to explore
practices that are close to Appropriation Art, such as Sturtevant's Duchamp Man Ray Portrait (1966), who reclaims a
photographic portrait of Marcel Duchamp realized by Man Ray, substituting both the author and the subject of the photograph
with herself.
Her most recent mixed media works for example start
with black and white
photographic images of potatoes which De Jong transforms into landscapes, animals or monsters, which have become so characteristic to her
practice.
Along
with filmmaking and
photographic work, his
practice includes curation, sound and performance.
Since moving to Georgia from her native Chicago in 2012, artist Kelly Kristin Jones has distinguished herself
with her thoughtful
photographic explorations of space and prolific, dynamic
practice.
A final year student in
Photographic Practice at the University of Northampton, Kay has a particular passion for traditional photographic methods, and is also concerned with the photograph as object in it
Photographic Practice at the University of Northampton, Kay has a particular passion for traditional
photographic methods, and is also concerned with the photograph as object in it
photographic methods, and is also concerned
with the photograph as object in its own right.
Daniel Seth Kraus» work blends historical research
with photographic practice in an effort to deepen our understanding of people and places.
Beginning
with her early
photographic series Women of Allah (1993 - 1997), and continuing through her current
practice, Neshat has consistently and fluently probed issues of gender, power, displacement, protest, identity, and the space between the personal and the political
with a singular and powerful aesthetic.
Haunted: Contemporary Photography / Video / Performance examines the myriad ways by which
photographic imagery is incorporated into recent art
practices, and in the process underscores the unique power of reproductive media — while documenting a widespread contemporary obsession
with accessing and retrieving the past.
Hovsepian's new series of assemblages continues her
practice of combining
photographic work
with varied studio art disciplines.
With a
practice inspired by Romania's majestic Peles Castle, artist duo Katharina Stöver and Barbara Wolff investigate ideas of originality in their newest show — a site - specific concert of bespoke wallpaper, Jesmonite sculptures, and
photographic rugs.
Her visual work integrates digital drawing
practices with photographic material, laser - etching, or specific software.
With a wide - ranging collection of both his famous and lesser known works, this monograph gives a vivid overview of Man Ray's multifaceted
practice and
photographic legacy.
Daniel Seth Kraus «s work blends historical research
with photographic practice to deepen our understanding of people and places.
Her
photographic practice flowered in the 1980s, becoming famous for its examination of gender and race: her works juxtapose text fragments
with images of African - American men and women, their faces often hidden from the lens.
From a white plastic electrical fan to a scattering of hand - cast plaster bowls in a rainbow of colours and from a roll of LED strip lights to wallpaper and swatches of silk printed
with a
photographic image of polystyrene, texture seems like a key driver in your
practice.
Aesthetica talk to Harris - Taylor about her
practice, the
photographic form and the processes of working
with the gallery space.
His
practice has covered subjects of pressing political and social importance since the 1990s, reflecting both directly and indirectly on the power of the
photographic image to engage critically
with the world around us.
As always, the exhibiting
photographic practice has been challenged through the never - ending play
with various methods, where Tillmans often pins or taps his work to gallery walls, creating constellations of pictures.
This body of work is the result of Warhol's
photographic practice of documenting his interactions
with the city and its objects as he moved through and around them.
Celebrating its 125th year, Baxter St at CCNY is marking this important anniversary
with an exhibition of work by artists who draw upon the origins of the medium to address contemporary
photographic issues and
practices.
Donnelly writes: «In Das Negativ, Baselitz paints from
photographic negatives, resulting in a necessarily dark palette,
with subjects obscured in their reversed portrayals — a step beyond the artist's usual
practice of painting his figures upside down.
His
photographic practice is concerned
with materiality and the passage of time.
In her
practice, Lainé often combines found objects
with large - scale
photographic imagery to form tableaux in which representational, physical and rhetorical spaces overlap.
In his artistic
practice, archival and original
photographic imagery is combined
with mystical, biblical and liturgical Hebrew.
The first photographer to win the Turner Prize (in 2000), his
practice is characterized by constant investigation into the boundaries of the
photographic medium and a preoccupation
with the process of photography itself.
This is manifested through my decades of
photographic practice, and through my ongoing work
with fellow artists, filmmakers, writers and curators under the rubric of Artist Curated Projects.
The artists presented in The Megacity and the Non-City adopt
photographic practices and image - based strategies to negotiate the expanding urban landscape of Africa today,
with its contradictions, grey areas, and sites of dispute.
Pairing a figurative style
with self - generated imagery and formal composition appropriated from her
photographic practice, Cedar's paintings combine painterly gestures
with articulated surfaces, oblique perspective shifts
with flatness — the scenes wavering between depiction, memory, and fantasy.
She is a 2013 graduate of the ICP - Bard College MFA in Advanced
Photographic Practice and received her B.A. from Sarah Lawrence College
with a concentration on photography.
Through the use of a 19th - century
photographic process that pre-dates silver - based
practices, the artist employs its naturally rich, blue tones to endeavor to express his thoughts on the beauty and mystery of the vast seas and his long - felt fascination
with the power and danger of deep waters.
His artistic
practice is concerned
with different possibilities of dealing
with photographic archives and their respective manifestations, as well as
with the interrelations and...
Photographs are presented in multiple formats, to emphasise their status as objects, not as mimetic devices merely depicting their subject: there are large scale, unique silver gelatin prints,
with the inky, seductive, saturated blacks that are characteristic of Beasley's hand - printed method; there is a stack of litho - prints that you can help yourself to, and there are
photographic postcards on the kind of dumb, commercial rotating stand that ought to threaten a fine art
practice but has instead been co-opted by Beasley to extend her meditation on the currency of the
photographic image.
The J. Paul Getty Museum is presenting a companion exhibition exploring Mapplethorpe's disciplined studio
practice and his fascination
with classical form and the fine
photographic print.
But their
photographic practices thrive on the interplay between a fast - paced downtown subculture
with a rigorous studio
practice.
Since his whole
practice is related to the urban experience, so the scenes of alienation and decay collected in his
photographic series make this connection explicit, their fugitive compositions resonating
with the vocabulary of his paintings.
By BEN SLOAT Larry Sultan has pushed the boundaries of
photographic practice since the publication of Evidence in 1977, a collaboration
with Boston based photographer Mike Mandel, of found institutional...
Leticia Valverdes uses her personal
photographic practice to engage
with a variety of communities to explore notions of identity and self - esteem.
Created
with the help of artist Almudena Romero is Khadija's beautiful and poignant series Dwelling: in this space, we breathe, reflecting on Gambian spiritual
practices, produced using wet plate collodion tintype
photographic techniques.
Back then we had a lot of
photographic practices that were almost anti-photo,
with artists using photography to create signs or advertisements, like Barbara Kruger.
Published in conjunction
with the exhibition of a selection of photographs recently acquired by the Mildred Lane Kemper Art Museum, this brochure presents historical works by photographers who defined the standards of
photographic practice as well as an international array of contemporary practitioners who examine and expand the parameters of the medium, including Doug Aitken, Sophie Calle, Louise Lawler, and John Stezaker.
Andrew Jackson's
photographic practice is primarily concerned
with exploring the nuances of urbanism as it impacts upon notions of race, class, citizenship, and migration.
His
photographic practice engages the poetics of photography,
with a focus on interacting
with places and people that often remain overlooked.
Raissnia transforms the
photographic images that she works
with (whether they are found or taken by her) incessantly by modifying them, re-photographing them, and not just representing them, but almost building these images anew layer by layer through her drawing and painting
practice.
Akram ZaatariÂ's artistic
practice is an ongoing study of historical
photographic documents, and their relationship to personal histories — confronting personal
with historical political events.